Writing as Intermediary. Text-image relations in early modern Islamic cultures

基于宗教争论禁止图像和处理伊斯兰文化世俗领域中的人物表征之间的紧张关系引发了最近的一些研究，这些研究已经开始在图像转向、视觉文化研究和Bildtwenschaft的支持下阐明图像的特征。在这场讨论中，一个延伸的“意象”概念得到了肯定，但书法在这一背景下所扮演的角色还需要进一步研究。本提案旨在探索伊斯兰-阿拉伯书法在文本和图像之间的模棱两可，甚至是混合的特征。它涉及书法的两个方面，重点是早期现代性。首先，穆斯林作家以及书法家本身在美学和美德方面归因于书法的潜力，将从15世纪到17世纪的阿拉伯语和波斯来源中挖掘出来。书法手册和相册，以及书法家的传记，可以为人们提供新的视角，了解宗教规范是如何被谈判并塑造成艺术创作的。它们可以告诉我们艺术家和他们的赞助人的想法，以及宗教概念是如何形成书法艺术的背景的。其次，作为17世纪后期奥斯曼帝国虔诚书法特色产品的山眼单叶图形的创新，需要从几个方面进行解释。对各种山丘的分析，以及额外的文字和视觉材料，将解决规范和变异的问题，山丘的文字实质和图形形式发展所依据的偏好，以及构成这种开发和使用的社会宗教背景。这项研究是基于之前对伊斯兰艺术各个领域的研究。虽然这两部分的材料和方法在一定程度上是相辅相成的，但它们都将处理非常相似的问题，比如书法的标志性特征及其图形安排，以及关于艺术的宗教声明是如何被重视、界定或谈判的。此外，这两个部分的历史锚定将成为讨论书法发展在多大程度上与“伊斯兰”文化的总体状况联系在一起，或如何与特定的历史情况联系在一起的问题。此外，还将讨论个别艺术家的问题，包括书法理论话语属于他们的部分，以及山眼发展中的创新范例。总而言之，对书法文学和希尔耶的书法作品的分析旨在填补伊斯兰视觉文化研究中的一些现有空白，并有助于研究奥斯曼帝国和早期现代伊斯兰教的邻近文化中的凝视历史。

The tension between the prohibition of images, based on religious arguments, and the handling of figural representations in the secular sphere of Islamic culture has triggered a number of recent studies that have begun to elucidate the character of images under the auspices of the pictorial turn, visual culture studies, and Bildwissenschaft. While an extended notion of "image" is asserting itself in this discussion, the part that calligraphy played in this context requires further research. The present proposal aims at exploring the ambiguous, even hybrid, character of Islamic-Arabic calligraphy between text and image. It deals with two aspects of calligraphy, with a focus on early modernity. First, the potential that Muslim authors, and, by the same token, calligraphers themselves, attributed to calligraphy in terms of aesthetics and virtue, is to be fathomed in Arabic and Persian sources from the 15th-17th centuries. Calligraphic handbooks and albums, as well as biographies of calligraphers, can yield new insight into the way in which religious norms were negotiated and shaped into artistic creations. They can inform us about the way in which artists and their patrons were thinking, and how religious concepts formed a background for calligraphic art. Second, the innovation of the hilye single-leaf graphic as a characteristic product of Ottoman piety and calligraphy in the late 17th century requires explanations in several respects. An analysis of various hilyes, as well as additional textual and visual material, will address questions of norms and variation, the preferences along which the textual substance and graphic form of the hilye developed, and the socio-religious context that framed this development and use. The study is based on previous studiest in various fields of Islamic art. While the materials and methods of both parts of the project are partly complementary to each other, both will be dealing with very similar questions about the iconic character of calligraphy and its graphic arrangement, and the way in which religious statements about art were valued, delimited or negotiated. Besides, the historical anchoring of both parts of the study will form a basis to discuss the question to what degree the development of calligraphy can be linked with general conditions of "Islamic" culture, or how it was tied to specific historic situations. Besides, the questions of individual artists will be discussed, with regard to the part that the theoretical discourse on calligraphy attributes to them, but also on examples of innovation in the development of the hilye. In sum, the analysis of calligraphic literature and the calli-graphic works of the hilye is meant to fill some existing gaps in the study of Islamic visual culture, and to contribute to a history of the gaze in the Ottoman empire and in neighbouring cultures of early modern Islam.